جستجوی مقالات مرتبط با کلیدواژه « ایهام » در نشریات گروه « ادبیات و زبان ها »

Multi-readability [in Persian: ihâm] is one of the figures of speech in the Persian language, which has gained more credibility over time, and is now considered one of the key aspects of Persian literature. If we consider Hafiz as the most famous Persian-language poet in the world, we must admit that the most important feature of his poetry is multi-readability. In Persian script, short vowels are usually not written, allowing us to read words in several ways. This is one of the most important factors in the production of multi-readability. Perhaps this difference between Persian script and Western scripts has caused multi-readability not to be a figure of speech in Western literature, and Western translation experts have never seriously studied the translation of multi-readability. In Iran, as far as we know, neither literary scholars have been very successful in analyzing multi-readability, nor have translation researchers taken a serious look at its translation. Multi-readability, on the one hand, is one of the most complex artistic tools in our literature, and on the other hand, current translation methods have not been able to successfully transfer its form and content to other languages. We ask if we can define a guideline for the translation of multi-readability that can transfer it as much as possible into the target language. In response, we propose a new theoretical framework to resolve the ambiguities in the definition of multi-readability. Then, while analyzing the translation of verses with multi-readability from Hafiz, we show that they can be divided into several categories based on the translation method. Finally, we present some suggestions for translating multi-readability, which can reduce the loss of meaning.

Hafez's eternal presence not only in the history and literary history of Iran but also in the minds and consciences of Persian speakers around the world, has made him an "eternal memory" and for this reason, he and his poetry have been spoken about in many different ways. But it is still open to the discussion of covertness and indirect and pragmatic expression and confusion over events and biting satires and scandalous ironies and other linguistic tricks that go back to its two sides. In the present article, the structure and content of Hafez's ambiguities prominent features of his style are examined. As a result of the sequence of thoughts and associations, the meanings of the mind are involved and at the same time it never reaches certainty, it has been studied and analyzed. This unique virtue of Hafez's poetry, which distinguishes his words from the words of others and causes its exaltation and immortality, is a framework for expressing ideas that have not been explicitly expressed without danger. It is with this tactic that Hafez stands up to the ruling power and, with its help, overthrows the dominant discourse of the government and helps to free the people from their stagnation and arrogance and dependencies. The data of this research have been provided through library studies and have been described using analytical methods. The most important achievement of this research is that its cover-ups and ambiguities, where something is thought of in the structure of India, show a kind of political structure and power in relation to itself.

Khajowi Kermani has used various rhetorical devices and tools in his lyrical poetry to expand the scope of meaning, which in contemporary rhetoric are considered to be a subset of the iham industry and can be said to be related to the decorative categories of iham, including iham of proportion, iham of contrast, iham of contrast, iham Translation, synonyms, etc. are different. The different types of these methods are: verbal allusion, virtual allusion, ironic allusion, structural allusion, multiple reading allusion, additional allusion and employment allusion. The problem that is addressed in this article in an analytical-descriptive way is, which types of allusions did Khajovi Kermani use in his sonnets to increase the semantic capacity of his words? And what is the frequency of using these Ihamic methods in his words? After presenting the definitions of idioms in past and contemporary rhetoric and examining the types of idioms leading to multiple meanings, based on a comprehensive study of Khajo's poetry, the following results were obtained: First, Khajo in his sonnets, except for polyphonic idioms, of all meaning-making types of idioms, Has used; Second, among the types of polysemous idioms, he has used employment more and additional idioms less than other types. Other types of allusion used in Khajo's sonnets are, respectively: verbal allusion, ironic allusion, structural allusion, virtual allusion and additional allusion.

Īhām is among the most pleasant literary devices and the best way to express social woes and a medium through which to express discontent, albeit conservatively, in societies under authoritarian rule. Hafiz extensively employed this rhetorical embellishment to criticize the tumultuous situation, not least in his Ghazals. Relying on the descriptive-analytical method, this inquiry delves into the īhām-loaded poetry of Hafiz aimed at social and political issues. It will shed light on the influence of Mongol invasion of Persia and the dominance of Genghis Khan’s successors in the Hafiz’s poetry. It also identifies the most prominent instances of īhām with socio-political function in his poetry. The results suggest that the best part of social and political īhāms is aimed at the corrupt establishment, principal among them the hypocrite Mongol rulers. As well, two types of īhām were used more frequently than the other ones: tanāsub and mujarrad.

Poetry as a Fuzzy Domain: How Metaphor and Ambiguity Make Poetry Fuzzy?AbstractFuzzy logic is, in all likelihood, an ancient domain known probably even to Aristotle's predecessors. However, it was not until 1965 when professor Lotfizade published his article ''Fuzzy Sets'' that it was systematized into a decent field of study. Fuzzy Logic challenges Aristotelian logic on many grounds, rejecting its rigid division of the world phenomena into binary oppositions, its certainty and its ignorance of the grey ground in between. Little work is done in Iran on the implications of fuzzy logic for literature and especially poetry. Far from being a first step, this study is an attempt to answer the call, posing such questions as the following. Is literature a fuzzy phenomenon? How? Can metaphoricity be graded? What about ambiguity? How does metaphor and ambiguity make poetry a fuzzy domain, introducing the concept of continuum and blurring the previously-held boundaries?Keywords: Fuzzy logic, Literature, Poetry, Metaphor, Ambiguity.

Aesthetics is an ability to better understand perceptions as well as phenomena such as music that causes a change in a person's mood and attitude. In fact, the definition of beauty can be very broad or very narrow. Some have tried to define beauty in an objective matter especially to search: for example, in different types of art, objects, nature and other subjects. But the aesthetic value of a work becomes perceptible when it can present itself to the observer as an art independent of the mind and make her mind active. Because the areas of aesthetics are one of the prominent theories in aesthetics, which is considered a subset of linguistics. This research was conducted with the aim of investigating the content elements and functions of Qazdari's poetry and their effect on the prominence of the concept of her poetry and inducing its meanings to the audience has given a special meaning and its purpose is to explain what beauty is and how we understand it and also to analyze those beauties has been used. The data of this research has determined that: Qazdari has never sacrificed the content and theme, including the beautiful features that can be mentioned in Qazdari's poems in order to induce concepts and content. They talk about the science of her poetry.

In tyrannical societies and authoritarian governments, opacity is the best way to express social pains and is a channel for protesting and of course, it is prudent; This means that the inappropriate social conditions and the suffocating atmosphere of the lands lead the artist to conceal and express his beliefs in the envelope of opacity’s literary array: An indirect and effective statement that raises the awareness of the audience, and in a way, it can be considered as a way of the writer's or poet's pen struggle against the rulers and the deceptive and hypocritical people. In the 7th and 8th centuries of AH - which is one of the darkest periods in Iran's history - our land was attacked by the Mongols and their rule. The tyranny of the rulers during these two centuries resulted in heavy social suffocation; as it has been very influential on Persian poetry and especially the form of Sonnet and has caused the introversion of Iraqi style poets. In the current study - which examines the literary industry of opacity and its relationship with critical issues in Hafez's sonnets - data has been collected through document analysis and described in a qualitative manner. The result of this research shows that the use of idioms in order to criticize the actions of oppressive kings and hypocritical Sufis and ascetics in the court of Khajeh is a characteristic of the poet's style, and among the types of opacities, the frequency of opacities of proportion and singular opacities are more than other types.

In this research, we intend to investigate the category of amphibology and how and why it is used in Khaghani's Elegies and Hafez's lyric sonnets. The category of amphibology in this article is limited to ambiguous amphibology and does not include its other sub-categories, such as: balanced amphibology, translation amphibology, synonymous amphibology, evolutionary ambiguity, and so on. The basis of the definition of amphibology, in addition to its background in rhetorical books, will be newer definitions that subsets of them can be listed as follows:  Lexical amphibology, Metaphorical amphibology, Structural amphibology, Recruitment, additional amphibology and Poly-dimensional amphibology. The result obtained shows that Hafez has taken precedence Khaghani in all forms of amphibology, except application, and one of the differences between the use of amphibology in works of the two poets is that Hafez paid special attention to amphibology with Arabic words and also The structural amphibology that results from the poet's nobility over the various capacities of language has a significant advantage in his divan.

Salimi Jeroni is one of the 9th century poets and a follower of Nezami-Ganjavi's good taste. His poems are full of , Figures of thought and original beauties; ambiguity is one of the Figures of thought and a means of avoiding norms in speech, which has a significant contribution to the illustration and composition of Salimi's speech. This research tries to investigate this artistic technique in Shirin-Farhad Salimi's masnavi using a descriptive-analytical method and to demonstrate the poet's ability in this field. The results of the research show that out of a total of 697 cases of ambiguity has the highest frequency with 338 cases and a frequency of 48.5. His ideas are pleasant and have been used elegantly and in the form of new images and structures. The choice of idiomatic words in the axis of coexistence and substitution is very artistic in such a way that the change of each of the parts of the verses causes disturbance in the words. He has tried to innovate by using words related to some aromatic substances, fruits, diseases, calendar terms, plants, adjectives, verbs, prepositions, pronouns and breaking the link of simple words in the field of all kinds of ideas. It seems that Salimi, with the conscious use of all kinds of metaphors, along with other Figures of thought: recognition, puns, contrasts, irony, repetition, sensibility, similes, allusions, and used this Figures in the service of visualizing and creating multiple meanings of the word.

The political, social, intellectual and cultural conditions of each poet's life cause the creation of different types and personalities in his poems. Hafez's poetry is no exception to this rule; Because most poets' poems are based on special characters and characters. Hafez speaks with the design of special characters and their functions and the use of the industry of ambiguity or the same multiplicity of meanings, ambiguous and multi-purpose, and this issue shows the depth of his worldview and thought.

The present article has a descriptive-analytical method and using library resources to study the semantic multiplicity of types and characters in Hafez's divan.

The findings of the present article show that among the prototypes proposed by Hafez, some are sacred and in some cases are his role models, some are praised by him and some have been criticized. These types and characters, whether accepted or hated, are sometimes used in their original and real meanings, and sometimes in non-original meanings, and in many cases even have a multiplicity of meanings.

Most of the prominent figures of Hafez's court such as prophets and infallible Imams (as) - mystical figures, kings and ministers, heroes and myths, romantic figures, political and social figures, cattle, birds, trees and flowers are real types. Perhaps the main reason for the design of some characters in Hafez's poems is the special political and social conditions of his life and the interactions he had with those special people, and the creation of some characters may have been due to their identification with them. Some of these characters are praised by him, some are influential in his life, some are his role models, some have been criticized.

In the dark seventh and eighth centuries AH, which was the period of domination of the Tatar bloodthirsty and the governance of the unworthy cruel rulers over the cultural Iran, critical poems emerged in ways deeper than the protesting literature in the sixth century. In this period, Saadi and Saif Farghani were two liberals who each addressed the issues of the disintegrated society of that time. Since the arbitrariness of anti-people governments had captured the pen and speech in the labyrinth of tyranny, these poets inevitably turned to cryptic novelties, especially equivoque , to criticize the turbulent situation of the time. Based on a descriptive-analytical and comparative method, this study aims to investigate and compare the function of equivoque in raising political and social issues in the Ghazal of the mentioned poets in order to firstly explain the impact of Genghis Khan invasion and Mongol rule in this period on the common theme in their Ghazal and secondly, the most equivoques of the Ghazal of the mentioned poets is known by their political and social functions and their similarities and differences, as well. The final result of this research shows that the application of "Equivoque " method in raising political and social issues in Saadi's Ghazal is more frequent than Saif’s. Most of the equivoques criticisms of these two poets are directed at those in power. Among the types of equivoque , abstract equivoque and equivoque of proportion are more prominent in Saadi's Ghazal and equivoque of proportion and contradiction in Saif's Ghazal, respectively.

Ambiguity is one of the most beautiful tricks that creates ambiguity in words And it forces the reader to delay, and it can be considered as a kind of semantic aberration. Ambiguity has attracted the attention of speakers because of the special complexity it creates in speech. The scholars of modern science have long sought a definition to clarify its types. Some of the definitions given for Tory ambiguity are related to proportional ambiguity. While in the ambiguity of proportionality there is only one meaning in the word and the second meaning is absent. The ambiguity in the poetry of a number of poets, including Assar Tabrizi, has a special character and he can be called an ambiguous poet. In Masnavi "Mehr and Jupiter" types of ambiguity: proportional ambiguity, ambiguity in ambiguity, ambiguity of contradiction, ambiguity of translation, ambiguity of employment, ambiguity of exchange and ambiguity of photo have a very high frequency and from this perspective ambiguity can be considered as stylistic features of Tabrizi extract. So far, no research has been done on the ambiguity in the poems of this poet and the poems of great poets such as Hafez and Khaghani have been studied. The research done on Tabrizi extract is mostly related to the mysticism and morphology of Masnavi Mehr and Jupiter, and its aesthetic aspects have been overlooked. Therefore, this research can be a new work in its kind.

Amir Khosrow Dehlavi is an influential poet in the history of Persian language and literature, who has emerged as a capable representative of the Persian language and culture in the land of India. His various works are filled with delicate, valuable artistic and literary techniques, identification of which is of great importance for a correct understanding of the literary background of Persian. As a dependable pioneer in literary criticism and rhetoric, he has employed literary techniques properly in speech. Ambiguity is one of the most prominent effective techniques in his works, which helps the addressee to perceive more than one meaning from the discourse through implication of close and distant senses. One of his valuable, lesser-known works is his masnavi (‘a poetic form’) Noh Sepehr (‘nine skies’), composed in 718 AH. Many of the verses in this work contain artistic delicacies in terms of ambiguity, where the familiar addressee recognizes a wide network of polysemous words by paying close attention to the ambiguous structures. In this descriptive-analytical research, an attempt was made to answer the question of what is included in the most important types of ambiguity in Amir Khosrow Dehlavi’s Noh Sepehr.

In the present study, the underlying delicacy of Hafez’s poetry in skillfully expressing predicative sentences is taken into consideration by examining his masterful change of word order, compared to sentence word order as put forth in grammar books. To achieve this goal, by presenting theoretical ideas of experts in the field of Persian grammar and explaining their different opinions, this study has examined the skillful use and quality of predicative sentences in Hafez’s poems. The results of this research show that: 1) In Hafez's poems, a word can be both “predicate” and “subject” simultaneously; 2) “To be verbs” and their derivatives can be used ambiguously and simultaneously both as main and linking verb; 3) Predicative sentences are usually accompanied by equivocalness, and such subtle equivocalness is not usually noticeable; 4) The substitution of predicate and subject in most Hafez's poems is accompanied by a change of meaning

One of the research approaches that examines and analyzes the signs and understands their hidden meanings is the semiotic approach. From this perspective, in order to analyze social phenomena that do not find meaning in themselves, one must pay attention to the cultural structure and network of meanings in which they are located. One of the theorists who proposed a coherent plan for social semiotics was Pierre Girouard. He considers social signs in the two main areas of identity and social etiquette to be examined and analyzed. This research, which is written in a descriptive-analytical method and refers to library sources, tries to rely on Giro’s consistent theory and with the approach of social semiotics, analyzes the type and manner of appearance of social signs the novel Gypsy by the Fire, which is a social novel written by Moniro Ravanipour. The results of this article show that Ravanipour, in the novel Gypsy by the Fire, uses many symptoms, concerns about social issues, and especially concerns about the problems and sufferings of women who are trapped in superstitious beliefs. The author’s significant use of symbols such as occupational group uniforms, tribal rituals, superstitious and reactionary beliefs, and justice-seeking movements, which are the most important signs to express “The author’s objections to social issues have been used, along with various methods of ethnography and non-verbal communication (such as tone, clothing, etc.) to reflect the bitter realities of society and to express specific goals in the form of life descriptions.” The mirror is noteworthy. Under the component of “uniform” and in the semantic component of “occupational groups”, the author has been able to point out the occupational inequality of women and men among the gypsy tribes. Or in the discussion of the semiotic component of “tribal customs” in the gypsy tribes, education has no place and according to the law of caravans, houses and homes are forbidden for the nomads, there is no meaningful settlement and the gypsy girls in Marriage has no choice

Truth and image, beauty and ugliness, love and religion, etc. are interwoven in the word of Hafez. This is rooted in the compilation infrastructure of his word. One of the ways that allowed Hafez to combine different semantic domains is substituting concepts in the two lines of each verse based on rhetorical relations between those concepts (Rhetorical apposition). One of the types of rhetorical apposition is the substitution of two words or two concepts based on similarity. Apposition is one of the two sides of simile that substitutes the other side. In this structure, Hafez combines features of metaphor and simile and makes new images and wonderful meanings. The referencing of concepts is sometimes obvious and sometimes hidden. Rhetorical apposition is placed in a sentence independent of the substituted item. Therefore, the substitute maintains its independent meaning of the substituted item. This feature causes rhetorical apposition to have a virtual meaning in referring to the substituted item, but regardless of the syntagmatic relations, it maintains its main meaning. Hafez uses this tool to create new poetic themes, mystical symbols, the expression of mystical concepts, ambiguity, humor, and to visualize abstract concepts, and so on.

The use of ambiguity and amphibology in speech, by arranging the setting for multiplicity of significations and delaying the process of meaning comprehension, leaves a significant impression on the creation of  artistic aspects of the literary work and to the extent that the speech is free of such expressive techniques, it turns into a single meaning proposition, and its artistic worth is diminished. In this paper, based on such a presupposition, we have revisited the poems of Hazin Lahiji (1103-1180 A.H.) and examined the multiplicity of significations in his poems at both lexical and textual levels. At the lexical level, some figures of speech such as amphibology and its types, coincidence, and derivative puns pass beyond the limits of significations of the couplet and open new horizons of meaning to the audience. This study confirms that 192 cases of amphibologies were used in his poem. At both the sentence and couplet levels we classified the types of ambiguities and multiplicity of significations and the causes of their emergence into three categories of linguistic, logical and tonal and in each category we investigated and analyzed the techniques used by the poet to create ambiguity and various significations.

Syllepsis and the determination of its types have not been a subject in some of the earlier rhetorical books. Mirza Abootalib Fendereski, the author of the treatise Bayanolbadi’, is the first person who defined and explained it in Persian rhetoric, following the Arabic rhetoric. After him, other people have discussed how and why those arts have been used and determined the boundaries of this art. The results of the comparison between these definitions and opinions are as follows: A. Syllepsis has three sub-categories: metaphorical syllepsis (verbal and nominal), non-metaphorical syllepsis, and pronoun syllepsis; B. The use of pronouns is most usual in Arabic language and literature not in Persian; C. There may be several A and B’s (two sides of a simile) in syllepsis; D. In metaphorical syllepsis, the form has a concrete and real meaning in one of the parts of the syllepsis and is conceptually rational, abstractive compared with the other. To clarify the issue, we provided examples for each of these types of syllepsis.

If we do not say that Hafez is the greatest employer of the novel technique of ambiguity in Persian, we can at least acknowledge that the novel and unique technique of "ambiguity" is present in the structure of most of Hafez's poems and is among the poets of ambiguity. On the other hand, the use of irony is one of the reasons why Hafez's poetry is widely understood by common groups of people, as Zarrinkoub points out: The use of colloquial words and sarcasm of the common people is also sometimes graceful. By this usage, Hafez's poems will receive a special elegance and we can say that although Hafez's poems are scientific, but the irony doesn't hurt its body. And it gives a special elegance to his poetry, and on the one hand, it is easy to make Hafez’s words prosperous, even though it is refined, wise, and to an industrial extent, the use of vulgar and market words and allusions (Zarinkoub, 2004).

Ambiguous irony technique is a combination of the individual techniques of "irony" and "ambiguity". For example, due to interpreting the term trouble as wine, it will take two meanings: a real and an irony concept. Because of these two concepts, we can say that we have ambiguity. Like interpretation of "trouble" term for the wind; Which, considering the two real and ironic consequences, is ambiguous; For example, in these verses of Nasser Ali: They sell zucchini douche and now I am the wound of my head I bought a measure of gold, I bought gold and I bought trouble In this verse, the irony of "buying trouble" on the one hand refers to hardship, noise and suffering, and on the other hand to the headache caused by a hangover; Therefore, this irony has two meanings and consequently ambiguity.

This research which is descriptive-analytical and uses library sources, tries to reintroduce the technique of "ambiguous irony" (which is on the verge of oblivion) in Hafez's lyric images.

This combined technique has a significant presence and influence on the structure of images throughout Hafez's divan, and one of the reasons is that the poet pays too much attention to the technique of ambiguity. In fact, Hafez's use of this novel element cannot be compared with any of the poets before and after him, and from this perspective, he is the best among all Persian language poets (Mirdar Rezaei, 2018). With this explanation, many poets who show less evidence of ambiguity in the structure of their images (such as Khorasani style poets), are automatically out of the range of poets who make their images from composite and special industries. They use the trick of ambiguous irony, they go out. But as mentioned, Hafez has a special place in using this technique (and other combined techniques).

Amīr Khusrau Dehlavī, the Indian Persian-speaking mystic and musician, is the link between three the rich Iranian, Islamic, and Indian cultures. In order to understand the link between the poetic traditions of Persian language and music properly, it is important to recognize his invaluable contributions to poetry and music and his combining these two for articulation of concepts. Nine Skies, Dehlavī’s masnavi, is among the most reliable works and is replete with musical terms. Musical ambiguity is one of the outstanding rhetorical figures in Nine Skies. Thus, it significantly helps us recognize the effect of music on Dehlavī’s elaboration of poetic concepts. The present study intends to address musical ambiguity as a literary device in this work.